Archive | April 11, 2014

Rivertime

Rivertime

Rivertime

 

 

 

 

 

 

 

Rivertime

Trace Balla

Allen & Unwin, 2014

hbk., 80pp., RRP $A24.99

9781743316337

 

Clancy is 10.5 years old or 3832.5 days or 91 980 hours old, and is obsessed with numbers.  He lives with his mum who is an artist and his uncle Egg, a very keen bird-watcher.  Egg has been waiting for Clancy to grow as high as his chest so they can go on a paddling trip up the river together.  Clancy isn’t so sure that it will be much fun, especially when he discovers that it is an extended camping trip – ten days, 240 hours, 14 400 minutes – and in a canoe, not a hovercraft, and only essentials are allowed.  He writes, “Day 1: After a lumpy, bumpy night, I’m grumpy…” and watches Egg load the canoe grumbling and mumbling and knowing he is not going to like this adventure and an encounter with a brown snake in the water just as they’re contemplating a swim doesn’t change his view. But as the journey goes on, Clancy sees and experiences new things – things that are more interesting than his television and other toys left behind – and learns much about life in all its colours, shades and hues, including rivertime, the tidal gap between breathing in and breathing out and which offers such peace and tranquillity and reflection.

Set on the Glenelg (Bochara) River which flows out of Gariwerd (aka The Grampians), parts of which are the traditional home of the Gundjitmara and Boandik peoples, and told in a graphic novel format, this is a story of Clancy’s journey – not just along the river but also the physical, mental and emotional journey of the transition from child to young man. His final triumph of conquering the jetty exit is perfect! And his victory dance shows just how far he has travelled.   Its gentle colours add to the atmosphere and each page is peppered with little bush creatures and their names, the things that the Clancy of the beginning wouldn’t see and couldn’t appreciate, but which the Clancy of the end values, even abandoning his obsession with numbers. Now, when a speedboat cuts through the water, Clancy feels sorry for the river’s creatures.   As David Suzuki says, “All children need an Uncle Egg to open up the magical world of nature.”

This is an extraordinary book – one to be read alone and savoured because there are so many layers and levels to it.  It’s not just the story of Clancy and Egg and their journey, but a calming, almost meditative, read for the reader.  Often when we pick up a picture book we just skim read it just as we can “skim read” our daily lives because we don’t think we have time to delve deeper and really appreciate and value what we have, but as you get into this story it drags you in, just as it did Clancy, until you become absorbed and oblivious to the distractions around you.  Just as the wallaby swimming across the river and the koala changing trees, it beckons you to try a new place just because you can. The handwritten font enhances the concept of it being a personal journey for both writer and reader. So while the younger student may read it as Clancy having an adventure with his Uncle Egg, there is much more that the older reader will gain from it too. In the penultimate frame, Egg says, “You’ve come a long way, kid”, to which Clancy replies, “Yeah, and I could keep going.” Sums it all up perfectly, in my opinion.

 

The Duck and the Darklings

The Duck and the Darklings

The Duck and the Darklings

 

 

 

 

 

 

 

 

 

The Duck and the Darklings

Glenda Millard

Stephen Michael King

Allen & Unwin, 2014

hbk, RRP $A24.99

9781743312612

In a hole built with care and lit with love, deep underground in the land of Dark, live Peterboy and his Grandpapa.  In the post-apocalyptic world, Dark was a sorry, spoiled place; a broken and battered place and had been so for so long that everything about a different world, a world of sunups and sundowns, yesterdays and tomorrows had been disremembered by everyone except Grandpapa. Peterboy and the other Darklings only venture beyond their holes and burrows at the dead of night when they go to the finding fields to see what they could scavenge. They know nothing of the sights and sounds and smells that Grandpapa can recall and no one speaks about.

When Peterboy came home he would tell Grandpapa of the things he had seen…”There are holes in the dark, Grandpapa, and light leaks through!  It slides down the steeps, puddles in the deeps and glimmers on the trickle”.  And as he told his stories to Grandpapa he noticed his eyes light up as Grandpapa remembered things lost and longed for. Peterboy wanted to keep that light in Grandpapa’s eyes so when he ventured out into the night, he looked for more than crumbs and crusts.  He wished for a scrap of wonderfulness.  And one night, he found what he was looking for – Idaduck, broken and spent but with hope beating in her downy heart..  So Peterboy picked her up … and changed his life, the life of Grandpapa and the lives of the Darklings for ever.

This is the most extraordinary book – it is a tale of hope, and triumph and resilience; of love and friendship and family; of connection and belonging. But what sets it apart is the most magnificent language that Glenda Millard has used – language that is so evocative and imaginative and expressive that you are just absorbed into the story as it wraps around you.  Every word is perfectly chosen and paints the most amazing mind-pictures.  Accompanied by the iconic illustrations of Stephen Michael King, who uses black and blocks of colour to depict the mood so well and contrasts the oppressiveness of the landscape with the feelings of futility of the Darklings who are represented in his characteristic line-drawing style, this is the epitome of a picture book where text and illustration are in perfect harmony.

The publisher recommends this book for 4-8 year-olds but it is for a much broader audience than that.  Apart from the context of the world as we know it having ended and the suggestion of the resurrection of life, older readers will gain much by examining the imagery, atmosphere and emotion evoked by the language and how this is interpreted by the illustrator.  There are so many layers to this book that it should prove once and for all that picture books are for everyone.

I may just be looking at the CBC Award winner for 2015